The Conversations is back with a look at Bernardo Bertolucci's much debated Last Tango in Paris
. Is it an "erotic" film? Was Pauline Kael's orgasmic rave overblown? What motivates these characters? What is Brando doing? What was Bertolucci trying to say with this film? These are some of the questions that Ed Howard and I attempt to answer. But what do you think? Head on over to The House Next Door and join in the conversation
Click here for an archive of The Conversations.
For the span of about fifteen minutes – from the start of the opening credit sequence until Paul and Jeanne make love against the window and then leave the apartment they will spend a great deal of the movie in together – this film is cinematic glory at its greatest. The possibilities for the motion picture as a full blown art form are exploited to spectacular advantage in almost every way possible before the flick, unfortunately, starts a gradual slide into cliché, sensationalism, and melodramatic slop, as well as a real slowdown in the sheer virtuosity of the filmmaking. But what a start!!
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